Trained in his
native Germany, Gustave Herter first rose to prominence as a cabinet
maker in New York City. Soon after being joined by his younger brother
Christian in 1864, the renamed firm, "Herter Brothers", began to create
entire decorative schemes of astonishing opulence for the wealthiest
families in America.The
Herter Brothers became the best-known interior furnishings firm in New
York during the second half of the nineteenth century. German-born and
trained, Gustave (1830-1898) and Christian Herter (1840-1883) opened
their New York business in 1865. The Herter Brothers firm established
its reputation for exquisite marquetry (decorative inlay) by furnishing
the mansions of the New York elite in the popular Renaissance Revival
style. Following the Civil War, several revival styles became
fashionable in furniture design. The Renaissance Revival style was
based loosely on the architecture of sixteenth- and seventeenth-century
Italy, and often incorporated Greek, Moorish, Egyptian, and other
historical motifs.
Their client list reads like a Who’s Who of Gilded Age
millionaires: Vanderbilt, Morgan, and Gould of New York; Crocker,
Stanford, and Huntington of San Francisco; Potter Palmer of Chicago.

....The brothers used such materials as ebonized wood, inlays of ivory and
gilt, and other ostentatious devices to satisfy the tastes of their
wealthy clients. French, English, and Japanese influences are evident
in the furniture designs.....

Vanderbilt, Cornelius,1794–1877,
American railroad magnate, b. Staten Island, N.Y. As a boy he ferried
freight and passengers from Staten Island to Manhattan, and he soon
gained control of most of the ferry lines and other short lines in the
vicinity of New York City. He further expanded his shipping lines and
came to be known as Commodore Vanderbilt. In 1851, when the gold rush
to California was at its height, Vanderbilt opened a shipping line from
the East Coast to California, including land transit across Nicaragua
along the route of the proposed Nicaragua Canal.

After the outbreak of the
Civil War, he entered the railroad field, and by 1867 he had gained
control of the New York Central RR. Although his efforts to gain
control of the Erie RR proved unsuccessful, Vanderbilt vastly expanded
his railroad empire and by 1873 connected Chicago with New York City by
rail. He amassed a great fortune.

A son, William Henry Vanderbilt,.
1821–85, b. New Brunswick, N.J., succeeded Cornelius Vanderbilt as
president of the New York Central RR and augmented the family fortune.
He gave liberally to Vanderbilt Univ., to the College of Physicians and
Surgeons , and to various other institutions.

Cornelius Vanderbilt,.
1843–99, b. Staten Island, N.Y., was a son of William H. Vanderbilt.
He took over the family holdings and helped to establish the
Cathedral of St. John the Divine.

Cornelius Vanderbilt II was a
financier and philanthropist, and president of the New York and Harlem
Railroad from 1886 until his death. He commissioned architect George B.
Post to build a mansion at Fifth Avenue and 57th Street. John La Farge
supervised the decoration of the dining and watercolor rooms. The
sculptural decorations were by Saint-Gaudens, who was assisted in the
project by his brother Louis, Philip Martiny, Frederick W. MacMonnies,
and others.

Another son of William H. Vanderbilt was William Kissam Vanderbilt,.
1849–1920, b. Staten Island, N.Y. He was a yachtsman, and his wife was
a well-known society leader.

The fourth son of William H. Vanderbilt
was George Washington Vanderbilt,. 1862–1914, b. Staten Island, N.Y. He engaged in numerous philanthropies.

Twin Houses. Las casas gemelas Nueva York

.....W.H. Vanderbilt purchased
the block between 51st and 52nd Streets in 1879, and the brownstones he built
there were divided by an atrium that separated his residence from that of his
two sons-in-law, Elliot F. Shepard and William D. Sloane. The twin houses came
to be known as the “Vanderbilt Twins” or the “Triple Palace,”
because the northern house was a double unit. W.H. Vanderbilt’s residence,
(which he hoped would outshine Alexander T. Stewart’s extravagant, white marble
palazzo on 34th Street,)
showcased his art collection, which he opened to public viewing on Thursdays
via invitation..........

..........Architects John B. Snook
and Charles Atwood designed twin houses connected by a glass atrium
and entrance vestibule, and the famed Herter Brothers decorated the
houses with such extravagance that Artistic Houses devoted 17 pages to its interiors upon their completion in 1883............

.....The structure, which
Vanderbilt lived in for only three years until his death in 1885, took
two years to build and involved an estimated 600 to 700 workers. .........

..........After opening his own
practice, he was asked in 1879 by the New York decorating firm Herter
Brothers to collaborate on twin houses for the Vanderbilt family in
Manhattan, and it was these homes that gained him a reputation as a
gifted residential architect and, no doubt, his exposure to Hunt, who
was the family’s architect for much of their other work. Atwood’s
position with the Herters was solidified, and he became their in-house
architect for several years, working on Searles Castle, a house for the
widow of railway magnate Mark Hopkins in Great Barrington, Mass ................

.......The subject, a native of London, was brought to New York as a child. . Snook was architect of A. T.
Stewart's department store (1846), Niblo's Garden Theatre, the
Metropolitan Hotel, Grand Central Depot (1871-72), All Angel's Church
(1886), and the Vanderbilt mansions on Fifth Avenue between 51st and
52nd streets. .....

The
mansions pictured here once stood on the west side of Fifth Avenue between 51st and 52nd
streets. The property was purchased by William H. Vanderbilt in 1879, and he
commissioned the architects John B. Snook and Charles Atwood to design twin
houses connected by a glass atrium and entrance vestibule. The Herter Brothers
decorated the houses extravagantly. W.H. Vanderbilt and his wife lived in the
southern house, while their two daughters and sons-in-law occupied the other.
The mansion depicted on the right side of the image was also commissioned by W.
H. Vanderbilt, and designed by Richard Morris Hunt in 1881. It was demolished
in 1926.

The home of Cornelius
Vanderbilt II and his wife, Alice Gwynne, was the largest of the
several Vanderbilt family residences that dotted Fifth Avenue. The
imposing French Château–style mansion was one of only three houses on
Fifth Avenue to take up an entire block-front (the other two were the
Carnegie and Frick residences).

Originally built in 1879–1883,
the house was enlarged and redesigned just ten years later by
architect George B. Post in consultation with his former teacher,
Richard Morris Hunt.

Its grand facades graced
Fifth Avenue between 57th and 58th streets, and the length of Grand
Army Plaza along 58th Street. No less fashionable than the mansion it
replaced, the Bergdorf Goodman department store was erected on this site
in 1928

Details of the photos

Architect: George Browne Post

Owner: Cornelius Vanderbilt residence

Ampliación-detalle de la foto anterior

Architect: George Browne Post

Owner: Cornelius Vanderbilt residence

Ampliación-detalle de la foto anterior

Architect: Richard Morris Hunt

Owner: William K. Vanderbilt residence

William Kissam Vanderbilt,
W.H.’s son, bought the next building site up Fifth Avenue at the northwest corner of 52nd Street, where
he built his house designed by Richard Morris Hunt between the years of
1879-1883. William K. Vanderbilt’s home was considered an exquisite
architectural work, and at the time, was considered behind only the U.S.
Capitol and Boston’s Trinity Church, as one of the best buildings in the
country. On nearby 57th Street,
stood the home of Cornelius Vanderbilt II, (also W.H.’s son,) which began in
1880 and was later enlarged in 1894 after designs by George B. Post. In
addition, at 680 and 684 Fifth
Avenue, were the homes of W.H. Vanderbilt’s other
two married daughters, Mrs. William Seward Webb and Mrs. Hamilton McKown
Twombly.

- Leading french photographer : "Contestating images (Photography and the World's Columbian Exposition)", by Julie K. Brown (The University of Arizona Press. Tucson & London). Pag. 153. ( notes to pages 93-96). 'The
response by the Ways and Means Committee of the Chicago Board to
Sir Henry Trueman Wood, British Commissioner to the Fair, was
reproduced along with a letter by Albert Levy, a leading french
photographer, protestating the imposition of such regulations.
"Photographing at the Chicago Exhibition" American Photographer 5 (
March 1893): 135; see also A. N., "The Possibilities of the World's
Fair" Photo Beacon 5 (Feb 1893): 47-49'- Photographer active circa 1870's 1880's (4). In this reference he is identified as "american photographer". - Photographer active from 1870's to 1890's. Active in New York in 1876 and in France in 1880's-1890's (1).- The older picture I have found by Albert Levy has the date 1905: "Ancienne et nouvelle Mairie d'Asnières" (3)- He has a catalogue with all his work until 1887 with 2500 titles. (3)

- A study in 34 1/2 Pine Street, NY in 1887 (3). - At the same time he also had a study in France, 19 rue de la Chaussée-d'Antin, Paris (3). - The Bibliothèque Nacionale de France also has another reference
in 1901: "22 janvier 1901, A. Lévy, 4 av. Pinel, Asnières" (3)He is also referenced as bookseller (2).Manufacturer:

Albert Levy is referenced as the photographer who began the
manufacture of the gelatin dry plates in 1878. All references can be
found in the book Photography and the American Scene. A social history (1839-1889) by Robert Taft. See and (8) for full text.

"Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'He
(John Carbutt) was preceded in this effort, as far as I can
definitely ascertain, only by Albert Levy of New York, who began the
manufacture of gelatin dry plates in 1878'. Page 371. (6) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'Mention
of the Levy dry plates and cameras can be found in Philadelphia
Photographer v.16, p. 95 (1879). As the notice appears early in 1879
and states that Levy is well known for his dry plates, it is quite
evident that he was making them as early as 1878 and possibly sooner.' Here is described where Taft found the reference. Page 503.(7) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'In
fact the earliest manufacturers of dry plates (Levy and Carbutt)
sold their products rather largely to amateurs. Early in 1879, Levy
followed up his plates with a small camera designed for amateurs
trade. This was described as “a unique little camera for dry plates-
and he (Levy) offers camera and lens for $12.00 for plates 4x5
inches: For this sum a half a dozen plates, developer, pyro, and
hypo are included, with full instructions for working the same". The
following year T.H Blair of Chicago place on the market a camera
for “amateurs photographers, college boys and artists “ which became
well known.'. Page 375.

Albert Levy is also identified as "early competitor of Eastman, NYC" (9). This reference relates also to the book by Robert Taft (10).Editor:

The Bibliothèque Nacionale the France (2) and the Avery Architectural and Fine Arts Library (20) own a catalogue of 2500 titles by Albert Levy as editor in New York and Paris for Architectural photography. ArchitectThere are some references that describe Albert Levy as an architect (11).

Artwork"Today photography is universally included in the roster
of the fine arts, and it is in the concept of a class of images
defined as "documentary" that remains unresolved. I suggest that,
while some photographs may be commission their work may wish to
produce documents, this intention does not suffice to differentiate
their work from other photographic images; the documentary character
is not intrisic to the image. It is or is not in the eye of the
beholder". Reference (17)

L'Architecture AmericaineThe album by Albert Levy that you are reading in this section of photocollection.alonsorobisco.es.
It is a serie of three architectural albums of in the United
States. You can see the complete second serie in the following link. In 1975, it was published the book "American Victorian Architecture" (19) by Arnold Lewis and Keith Morgan. In this book, the three series of L'Architecture Americaine are studied in detail.

"In its 120 unusually fine
photographs this book is a rare, contemporary look at Architecture
in America in the 1870`s and 1880`s. It surveys a wide range of
notable and curious examples of and interiors, concentrating on
the architecture and architects of New York, Boston and Chicago.
Originally published in Europe in 1886, it was one of the earliest
and mos diversified studies of American architecture in th
nineteenh century, an d perhaps the first recognition in Europe of
the new forces emerging in American Architecture"

The photos neither have a number nor a
signature to identify the photographer. However, the research done
by the authors of this book demonstrates the photographer is Albert
Levy. The Library of Congress of the United States also confirms
this fact.

Nowadays, we can also confirm that these photos are part of the 673 photos from the United States included in "Albert Levy's Photographic Series" as we find out in Levy's Catalogue (3).
In this case we have to highlight that the photos of the
photographic series have a number which correspond to the one in
the catalogue. These photographic series identify Albert Levy as
the photographer.

"Recueil photographique des nouveilles
habitations pittoreques de France urbaines et rurales en pierre,
brique, bois, ..."Another architectural album by Albert Levy that you have also in photocollection.alonsorobisco.es.
It is also a three serie album with 36 photos each. The album you
can see here in this web is the second serie. See the following link. The only other holder of any these series (in this case the three of them) is the "Culture France". (18)

Albert Levy's Photographic Series of Modern American Architecture. Due to these series, Albert Levy is referenced as counterpart for Alinari in the United States (13).

Albert Levy's Photographic Series of Modern American Architecture: Second Series, Country Dwellings. (16)

Albert Levy's Photographic Series of Modern American Architecture: Ninth Series, Street Fronts. (16)

Albert Levy's Photographic Series of Modern American Architecture: First Series, Private City Dwellings. (16)

Signature by Albert Levy in "Albert Levy's Architectural photographic series"In some cases, in the Photographic series the
Photographs are titled, numbered and mounted on blue card stock.
The card stock is embossed"Architectural & Decorative Books, Albert Levy, NY, 77, University".

Having a look at some of the photos of "Albert Levy's Architectural Photographic series" (see the HALIC archive of the Art Institute of Chicago in the web for more photos by Albert Levy (look for "Levy")) we can find that some of them are in "L'Architecture Americaine",
which indicates that this album may be a collection of the "best of
photographic series" to show his work in Europe (because the editor
is French). As this album was edited in 1886 (19), some of the dates of the photographic series above could not be correct.

American Architects in Albert Levy's catalogueThis is the list of architects that can be found in Albert
Levy's catalogue when describing the in the United States.

Maisons prives

Maisons de comerce et loyer

Maisons de campagne

Allen et Kenway

C. Peiffer

Arthur Little

Bruce Price

C.L. Carson

Bruce Price

Burham et Root

C.W. Romeyn

Burham et Root

C. Fehmer

Cook et Babb

C.a. Wallingford

C.E. Cassell

D. Adler

C.s. Luce

C.M. Palmer

H. Fernbach

Cabot et Chandler

C.S. Luce

H. Kafka

Cobb et Frost

Cabot et Chandler

H.H. Richardson

Coburn et Barnum

Cobb et Frost

J.F. Steen

E.A.P. Newcomb

Cudell et Richardson

J.M. Slade

E.P. Treadwell

Chas. B. Atwood

Peabody and Stearns

F.C. Withers

D. Adler

Potter et Robertson

G. Keller

E.H. Kendall

S.Hannaford

G.B. Post

E.T. Potter

S.J.F. Thayer

G.H. Smith

F.K. Schock

W. Schickel

G.W. Lloyd

G.B. Post

W.W. Smith

H.E. Ficken

G.E. Harney-Mckim

Maisons de Banque et de Bureaux

H.H. Richardson

Geo. Edbrook

Bradlee, Winslow et Wetherell

H.M. Stephenson

Herter freres

Burham et Root

J. Douglas

J.C. Cady

Cabot et Chandler

J.A Schweinfurth

J.G. Hill

Cook et Babb

J.A. Fox

J.H. Besarick

D. Adler

J.F. Steen

J.H. Moore

E.H. Chandler

J.G. Cutler

J.J. Flanders

E.H. Kendall

J.H. Besarick

J.L. Silsbee

F. H. Kimball

J.L. Silsbee

J.M. Van Osdel

G.B. Post

J.W.Mclaughlin

J.W. McLaughlin

G.E. Harney

Kimball et Wisedell

L.T. Scofield

G.R. Et R.G. Shaw

Lamb et Wheeler

Lamb et Wheeler

Geo. Edbrook

Mason et Rice

Mckim, Mead et White

Hartwell et Richardson

McKim, Mead et White

Mead et Bigelow

J.C. Cady

P.J.Boticher

Peabody et Stearns

J.J. Flanders

Peabody and Stearns

R.H. Robertson

J.W.McLaughlin

Potter et Robertson

R.M. Hunt

Peabody and Stearns

R.M. Hunt

S. Hannaford

R.M. Hunt

S. Hannaford

S.S. Godley

Russell Sturgis

S.Edwin Toby

Scwarzmann et Buchman

Silliman et Farnsworth

V.C. Taylor

Sturgis et Brigham

Th. P Chandler

W. Scott et Cie

Th.P. Chandler

W.H. Dennis

W.A. Bates

Treat et Foltz

W.L.B. Jenney

W.A. Potter

Vaux et Radford

W.W. Boyington

W.R. Emerson

-W. Scott et Cie

Wheeler et Clay

W.R. Emerson

W. Schickel

Wm. G. Preston

W.Whitney lewis

W.L.B. Jenney

Edifices Publics Divers

Eglises etc

W.R. Emerson

Burham et Root

C.H. Marsh

W.W. Lewis

F. U. Walter

Fernbach et Eidlitz

Ware et Van Brunt

F.H. Kimball

G.W.Lloyd

Wheelock et clay

Fuller et Laver

Geo. F. Meacham

Wyatt et Sperry

G.a. Clough

H.A. Sims

G.B. Post

H.H. Richardson

G.J. Metzger

Hartwell et Richardson

H.H. Richardson

J. Notman

J. C. Cady

J.W. McLaughlin

J.G. Hill

P.C. Keely

J.J. Flanders

Peabody and Stearns

J.W. McLaughlin

R.H. Robertson

JH. Wolters

R.M. Upjohn

Kimball et Wisedel

Th. P. Chandler

L.J. O`Connor

W.A. Potter

McKim, Mead et White

W.W. Smith

Peabody and Stearns

Interieurs divers

R.M. Upjohn

A.Fiedler

S.J.F. Thayer

G.W. Lloyd

Sturgis et Brigham

G.W. Lloyd

W.A. Potter

H.H. Richardson

W.M. Poindexter

H.J. Schwarzmann & Co

W.w. Boyington

J.H. Duncan

Ware et Van Brunt

L. Eidlitz

Wheelock et Clay

L.T. Scofield

Wilson Freres

Peabody and Stearns

References:(1) - George Eastman House(2) - 1880's United States Federal Census(3) - Bibliothèque Nacionale de France(4) - "International guide to the nineteenth century photographers and their works", by Gary Edward. (Boston: G.K. Hall, 1988)(5) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'He
(John Carbutt) was preceded in this effort, as far as I can
definitely ascertain, only by Albert Levy of New York, who began the
manufacture of gelatin dry plates in 1878'. Page 371. (6) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'Mention
of the Levy dry plates and cameras can be found in Philadelphia
Photographer v.16, p. 95 (1879). As the notice appears early in 1879
and states that Levy is well known for his dry plates, it is quite
evident that he was making them as early as 1878 and possibly sooner.' Here is described where Taft found the reference. Page 503.(7) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'In
fact the earliest manufacturers of dry plates (Levy and Carbutt)
sold their products rather largely to amateurs. Early in 1879, Levy
followed up his plates with a small camera designed for amateurs
trade. This was described as “a unique little camera for dry plates-
and he (Levy) offers camera and lens for $12.00 for plates 4x5
inches: For this sum a half a dozen plates, developer, pyro, and
hypo are included, with full instructions for working the same". The
following year T.H Blair of Chicago place on the market a camera
for “amateurs photographers, college boys and artists “ which became
well known.'. Page 375.(8) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'The
Levy and Blair cameras brought in a host of others, and E. and H.
T. Anthony, and the Scovill Manufacturing Company, among the largest
or the American photographic houses, were quick to follow with
similar device.' Page 375. (9) - Eastman-Butterfield Collection(10) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. '[...] credits him with making first dry plates in U.S., for amateur and personal use. Also put out #12 camera in 1879'. Page 371. (11) - Ministère de Culture de France(12) - New York Passengers list 1820-1957.(13) - "Photographic Documentation and : Relationships Past and Present" by Phyllis Lambert. At the beginning you can read: 'There
seems little doubt that the centennial encouraged a flowering of
pride in American architecture, of which the most interesting
example is provided by the American counterpart to Alinari, Albert
Levy, who published a photographic series on architecture in the
1880...'. See pdf for more information. (14) - Boston Public Library.(15) - Art Institute of Chicago (HALIC archive). (16) - Centre Canadien d'Architecture(17) - "On the Origins of Architectural photography", by James S. Ackerman (Centre Canadien d'Architecture). See pdf. (18) - Culture France. Joconde archive. See pdf for print screens of the data in the web. (19) - "American Victorian Architecture", by Arnold Lewis. Dover publications, 1975

(22) - "Contestating images (Photography and the World's Columbian Exposition)", by Julie K. Brown (The University of Arizona Press. Tucson & London). Pag. 153. ( notes to pages 93-96). 'The
response by the Ways and Means Committee of the Chicago Board to
Sir Henry Trueman Wood, British Commissioner to the Fair, was
reproduced along with a letter by Albert Levy, a leading french
photographer, protestating the imposition of such regulations.
"Photographing at the Chicago Exhibition" American Photographer 5 (
March 1893): 135; see also A. N., "The Possibilities of the World's
Fair" Photo Beacon 5 (Feb 1893): 47-49'

EnglishFINAL COMMENT.A few years ago, I bought this album for the quality of his photographsThen take me long time and effort to locate the data of this photographer.Since the album has the photos without photographer's name the beginning was very difficult. The
location of the book "American Victorian Architecture" allowed me to
contact the author Arnold Lewis who guided me to Albert Levy. Subsequently the Library of Congress facilitated the Levy's authorship of these pictures. Interestingly, as mentioned in the post, this library has albums 2 and 3 and lacks the first.From that time, slowly, but steadily went locating his work in numerous American museums and libraries. A
very important step was also the location of its catalog in the
National Library of France that allowed me to know that Albert Levy had two studies, in
Paris and New York, which is very rare for the time and demonstrating the
importance of this photographer's studioAlso noted that Albert Levy documented the photos: identifies location, owner and, less often the architect.It
strikes me security in choosing to photograph buildings given the time
the photos are made where information was absent Levy knows the
important building in each city. I
have no data that allow me to identify the selection process but
everything makes me think that he had some background in architecture or
contact with that world. Do
not forget that the Faculty of Fine Arts in Paris and his school of
architecture was a necessary step in the formation of importan American
architects.His"
Albert Levy's Photographic Series of Modern American Architecture"
provide a wide selection of the best architecture that took place in the
United States at that time. I have located more than 600 photos-36-series dedicated to this subject.Personally
I think that Albert Levy is one of the great photographers of architecture in the XIX century and, of
course, an excellent photo-documentary which, however, has not had the
recognition it deserves.The reasons are not hard to imagine:

The scarcity of his work.

Many albums do not identify the author of the photos.

And, perhaps, for the Americans is a French photographer that makes you not have devoted time and study. For the French he is a photographer almost unknown because most of his work, almost all of his work is in the United States.

Emulsion photographique francaiseUnequalled
for rapidity, (fully equal to the bath plate) Intensity to any degree
on simple development or other intensifier and absolutely permanent
and without change Albert Levy Sole propietor

77 University place N:Y.

Preservative for dry plates ( more rapid than wet) also prepared dry plates ready for use and photographic chemicals at olwest market prices always on hands